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Shakespeare Quotes

Browse 327 quotes about Shakespeare.

Shakespeare Quotes

“No, take more! What may be sworn by, both divine and human, Seal what I end withal! This double worship, Where [one] part does disdain with cause, the other Insult without all reason; where gentry, title, wisdom, Cannot conclude but by the yea and no Of general ignorance— it must omit Real necessities, and give way the while To unstable slightness. Purpose so barr’d, it follows Nothing is done to purpose. Therefore beseech you— You that will be less fearful than discreet; That love the fundamental part of state More than you doubt the change on’t; that prefer A noble life before a long, and wish To jump a body with a dangerous physic That’s sure of death without it— at once pluck out The multitudinous tongue; let them not lick The sweet which is their poison. Your dishonor Mangles true judgment, and bereaves the state Of that integrity which should become’t; Not having the power to do the good it would, For th’ ill which doth control’t.”

ShakespeareCoriolanus
Book:Coriolanus
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“Well, I must do’t. Away, my disposition, and possess me Some harlot’s spirit! My throat of war be turn’d, Which quier’d with my drum, into a pipe Small as an eunuch, or the virgin voice That babies lull asleep! The smiles of knaves Tent in my cheeks, and schoolboys’ tears take up The glasses of my sight! A beggar’s tongue Make motion through my lips, and my arm’d knees, Who bow’d but in my stirrup, bend like his That hath receiv’d an alms! I will not do’t, Lest I surcease to honor mine own truth, And by my body’s action teach my mind A most inherent baseness.”

SpiritShakespeareCoriolanus
Book:Coriolanus
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“It is often said that what sets Shakespeare apart is his ability to illuminate the workings of the soul and so on, and he does that superbly, goodness knows, but what really characterizes his work - every bit of it, in poems and plays and even dedications, throughout every portion of his career - is a positive and palpable appreciation of the transfixing power of language. A Midsummer Night's Dream remains an enchanting work after four hundred years, but few could argue that it cuts to the very heart of human behaviour. What it does is take, and give, a positive satisfaction in the joyous possibilities of verbal expression.”

PoemsHuman BehaviorPossibilitiesShakespeareEnchantingWilliam ShakespeareHuman BehaviourThe SoulPlaysPower Of LanguageDedicationsA Midsummer Nights DreamGoodness KnowsJoyous PossibilitiesFour Hundred YearsTransfixingVerbal ExpressionWorkings Of The Soul
Book:Shakespeare: The World as Stage
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“I knew exactly when the fever had struck. I had been reading Hamlet in an English class at school. Everyone else stumbled, puzzling over the strange words. Then it had been my turn, and the language had suddenly woken in me, so that my heart and lungs and tongue and throat were on fire. Later, I understood that this was why people spoke of Shakespeare as a god. At the time, I felt like weeping. Somebody had released me from dumbness, from utter isolation. I knew that I could live inside these words, that they would give me a a shape, a shell. I had no idea, then, that I would never play Hamlet…. I’m an actor, and in a good year I earn eleven thousand pounds for dressing up as a carrot.”

ActingStageMediaDramaHumiliationShakespeareActorActressPlaysBardDifficult JobsThe Industry
Book:In a Dark Wood
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“Shakespeare's strengths and there are many include his unique ability to vastly improve pre-existing plots and turn them profoundly dark and tragic or lightly comedic and romantic at will. There is also The Bard's lyrical, complex dialogue encoded with hidden meaning that works both in context and out, his towering, unforgettable characterisations, and the variety and depth of his female characters.”

TheaterTheatrePlaywrightShakespeareWilliam ShakespearePlaysBardShakespeareanShakespearean TragedyShakespearean Women
Author:Stewart Stafford
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“I sit with Shakespeare and he winces not. Across the color-line I move arm in arm with Balzac and Dumas, where smiling men and welcoming women glide in gilded halls. From out the caves of the evening that swing between the strong-limbed earth and the tracery of the stars, I summon Aristotle and Aurelius... and they come all graciously with no scorn nor condescension. So, wed with Truth, I dwell above the Veil.”

TruthShakespeareWilliam ShakespeareBalzacAristotleVeilAlexandre DumasMarcus AureliusDumasAureliusHonoré De Balzac
Book:The Souls of Black Folk
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“The worst feature of the Common Core is its anti-humanistic, utilitarian approach to education. It mistakes what a child is and what a human being is for. That is why it has no use for poetry, and why it boils the study of literature down to the scrambling up of some marketable "skill" [...] you don't read good books to learn about what literary artists do...you learn about literary art so that you can read more good books and learn more from them. It is as if Thomas Gradgrind had gotten hold of the humanities and turned them into factory robotics.”

LiteratureEducationBooksStandardsShakespeareNovelsSchool SystemJoyceDanteTolstoyDostoevskyCommon CoreSchool ReformTolstoi
Author:Anthony Esolen
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“In the course of the history of art and literature we repeatedly meet this stylistic differentiation according to subject-matter. For example, the dual manner of characterization employed by Shakespeare, according to which his servants and clowns speak in everyday prose but his heroes and lords in elaborately artistic verse, corresponds to this ‘Egyptian’, thematically determined alternation of style. For Shakespeare’s characters do not speak the different language of the various classes as they exist in reality, like the characters in a modern drama, for instance, who are all drawn naturalistically, whether they are of high or low degree, but the members of the ruling class are portrayed in a stylized manner and express themselves in a language non-existent in real life, whereas the representatives of the common people are described realistically and speak the idiom of the street, the inns and the workshop.”

StyleNobleProseShakespeareDualismVerseFolk
Book:The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages
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“Is it possible that the Pentateuch could not have been written by uninspired men? that the assistance of God was necessary to produce these books? Is it possible that Galilei ascertained the mechanical principles of 'Virtual Velocity,' the laws of falling bodies and of all motion; that Copernicus ascertained the true position of the earth and accounted for all celestial phenomena; that Kepler discovered his three laws—discoveries of such importance that the 8th of May, 1618, may be called the birth-day of modern science; that Newton gave to the world the Method of Fluxions, the Theory of Universal Gravitation, and the Decomposition of Light; that Euclid, Cavalieri, Descartes, and Leibniz, almost completed the science of mathematics; that all the discoveries in optics, hydrostatics, pneumatics and chemistry, the experiments, discoveries, and inventions of Galvani, Volta, Franklin and Morse, of Trevithick, Watt and Fulton and of all the pioneers of progress—that all this was accomplished by uninspired men, while the writer of the Pentateuch was directed and inspired by an infinite God? Is it possible that the codes of China, India, Egypt, Greece and Rome were made by man, and that the laws recorded in the Pentateuch were alone given by God? Is it possible that Æschylus and Shakespeare, Burns, and Beranger, Goethe and Schiller, and all the poets of the world, and all their wondrous tragedies and songs are but the work of men, while no intelligence except the infinite God could be the author of the Pentateuch? Is it possible that of all the books that crowd the libraries of the world, the books of science, fiction, history and song, that all save only one, have been produced by man? Is it possible that of all these, the bible only is the work of God?”

LightInspirationScienceFictionProgressBooksBibleIndiaTragedyMathematicsIntelligenceChinaMathExperimentsWriterChemistryRomePoetsEgyptGreeceNewtonPioneersShakespeareFranklinSongsLibrariesWilliam ShakespeareDiscoveriesThe BibleEuclidGoetheInventionsOpticsCopernicusDescartesKeplerIsaac NewtonLaws Of MotionGalileoLeibnizBurnsJames WattSchillerTheory Of GravityAeschylusJohannes KeplerNicolaus CopernicusPentateuchBenjamin FranklinGalileo GalileiRobert BurnsWattMorseGottfried LeibnizGottfried Wilhelm LeibnizJohann Wolfgang Von GoetheRené DescartesCavalieriPneumaticsAlessandro VoltaBerangerBonaventura CavalieriBonaventura Francesco CavalieriFultonGalvaniGottfried Von LeibnizGottfried Wilhelm Von LeibnizHydrostaticsJohann Von GoetheLuigi Aloisio GalvaniLuigi GalvaniPierre Jean De BérangerRichard TrevithickRobert FultonSamuel Finley Breese MorseSamuel MorseTheory Of Universal GravitationTrevethickVoltaÆSchylus
Book:Some Mistakes of Moses
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“One need not believe in Pallas Athena, the virgin goddess, to be overwhelmed by the Parthenon. Similarly, a man who rejects all dogmas, all theologies and all religious formulations of beliefs may still find Genesis the sublime book par excellence. Experiences and aspirations of which intimations may be found in Plato, Nietzsche, and Spinoza have found their most evocative expression in some sacred books. Since the Renaissance, Shakespeare, Rembrandt, Mozart, and a host of others have shown that this religious dimension can be experienced and communicated apart from any religious context. But that is no reason for closing my heart to Job's cry, or to Jeremiah's, or to the Second Isaiah. I do not read them as mere literature; rather, I read Sophocles and Shakespeare with all my being, too.”

InspirationReligionAtheismShakespeareOld Testament
Author:Walter Kaufmann
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“It may take a decade or two before the extent of Shakespeare's collaboration passes from the graduate seminar to the undergraduate lecture, and finally to popular biography, by which time it will be one of those things about Shakespeare that we thought we knew all along. Right now, though, for those who teach the plays and write about his life, it hasn't been easy abandoning old habits of mind. I know that I am not alone in struggling to come to terms with how profoundly it alters one's sense of how Shakespeare wrote, especially toward the end of his career when he coauthored half of his last ten plays. For intermixed with five that he wrote alone, Antony and Cleopatra, Coriolanus, The Winter's Tale, Cymbeline, and The Tempest, are Timon of Athens (written with Thomas Middleton), Pericles (written with George Wilkins), and Henry the Eighth, the lost Cardenio, and The Two Noble Kinsmen (all written with John Fletcher).”

TeachingCollaborationShakespeareAuthorshipHistory Of Thought
Book:Contested Will: Who Wrote Shakespeare?
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“[Measure for Measure] leaves me with the sense that life is all there is, so we might as well live it as best we can; that being human is not a given something we have to strive for. That the reason we are here is to live and that this involves making many difficult judgements.”

ShakespeareMeasure For MeasureRoger Allam
Book:Players of Shakespeare 3: Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company
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“I began to recall my own experience when I was Mercutio’s age (late teens I decided, a year or two older than Romeo) as a pupil at a public school called Christ’s Hospital. This school is situated in the idyllic countryside of the Sussex Weald, just outside Horsham. I recalled the strange blend of raucousness and intellect amongst the cloisters, the fighting, the sport, and general sense of rebelliousness, of not wishing to seem conventional (this was the sixties); in the sixth form (we were called Grecians) the rarefied atmosphere, the assumption that of course we would go to Oxford or Cambridge; the adoption of an ascetic style, of Zen Buddhism, of baroque opera, the Velvet Underground, Frank Zappa, and Mahler; of Pound, Eliot and e. e. cummings. We perceived the world completely through art and culture. We were very young, very wise, and possessed of a kind of innocent cynicism. We wore yellow stockings, knee breeches, and an ankle length dark blue coat, with silver buttons. We had read Proust, we had read Evelyn Waugh, we knew what was what. There was a sense, fostered by us and by many teachers, that we were already up there with Lamb, Coleridge, and all the other great men who had been educated there. We certainly thought that we soared ‘above a common bound’. I suppose it is a process of constant mythologizing that is attempted at any public school. Tom Brown’s Schooldays is a good example. Girls were objects of both romantic and purely sexual, fantasy; beautiful, distant, mysterious, unobtainable, and, quite simply, not there. The real vessel for emotional exchange, whether sexually expressed or not, were our own intense friendships with each other. The process of my perceptions of Mercutio intermingling with my emotional memory continued intermittently, up to and including rehearsals. I am now aware that that possibly I re-constructed my memory somewhat, mythologised it even, excising what was irrelevant, emphasising what was useful, to accord with how I was beginning to see the part, and what I wanted to express with it. What I was seeing in Mercutio was his grief and pain at impending separation from Romeo, so I suppose I sensitised myself to that period of my life when male bonding was at its strongest for me.”

ShakespeareRomeo And JulietRoger Allam
Book:Players of Shakespeare 2: Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company
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“Years and years ago, there was a production of The Tempest, out of doors, at an Oxford college on a lawn, which was the stage, and the lawn went back towards the lake in the grounds of the college, and the play began in natural light. But as it developed, and as it became time for Ariel to say his farewell to the world of The Tempest, the evening had started to close in and there was some artificial lighting coming on. And as Ariel uttered his last speech, he turned and he ran across the grass, and he got to the edge of the lake and he just kept running across the top of the water — the producer having thoughtfully provided a kind of walkway an inch beneath the water. And you could see and you could hear the plish, plash as he ran away from you across the top of the lake, until the gloom enveloped him and he disappeared from your view. And as he did so, from the further shore, a firework rocket was ignited, and it went whoosh into the air, and high up there it burst into lots of sparks, and all the sparks went out, and he had gone. When you look up the stage directions, it says, ‘Exit Ariel.”

ShakespeareThe TempestTom Stoppard
Author:Tom Stoppard
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“Prospero, you are the master of illusion. Lying is your trademark. And you have lied so much to me (Lied about the world, lied about me) That you have ended by imposing on me An image of myself. Underdeveloped, you brand me, inferior, That s the way you have forced me to see myself I detest that image! What’s more, it’s a lie! But now I know you, you old cancer, And I know myself as well.”

PlayShakespeareCalibanThe TempestPostcolonial
Book:A Tempest: Based on Shakespeare's 'The Tempest;' Adaptation for a Black Theatre
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“Dear reader, mon frère, increasingly rare, and less and less willing to descend into the depths of unknown literature to find the new, remember well that, as the great Voltaire said, some sentences are worth more than entire libraries, and to quote Prospero, Me, poor man, my library was a dukedom large enough!... So, of his gentleness, knowing I lov'd my books, he furnish'd me from my own library with volumes that I prize above my dukedom!”

ShakespeareShakespeare CriticismShakespeare QuotesShakespeare AphorismsShakespeare FameShakespeare SourcesShakesperare IdentityLiterary Dedication
Book:William Shakespeare Aphoristic Dictionary: With essays by Carl William Brown
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“Shakespeare, with his wisdom and creative ability, enhanced by his brilliant rhetoric, created works truly full of aphorisms and memorable phrases capable of distilling profound insights into human nature, ethics, politics, love, suffering, in practice, into the whole existence.”

ShakespearePrefaceShakespeare CriticismShakespeare QuotesShakespeare AphorismsShakespeare FameShakespeare SourcesShakesperare Identity
Book:William Shakespeare Aphoristic Dictionary: With essays by Carl William Brown
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